Three Companies that Excel in Customer Service Part III: ProMaster

Sunrise at Bodie Island Lighthouse (Nags Head)
©2014 Terrell Neasley

"Exceed your customer's expectations. If you do, they'll come back over and over. Give them what they want - and a little more." 

~ Sam Walton

Continuing this series with another great photography-related company, I wanted to round things out with another company servicing a different aspect of photo. In Part I, I covered a camera manufacturer. Part II looked at details of one of the best run lighting companies out there. This time around, I wanted to focus on the next arena photographers seek to fulfill the remainder of their photographic wants. After you have your camera and lenses and you've taken care of all your lighting requirements, the next thing you look for are camera accessories.

ProMaster

ProMaster (Photographic Research Organization) has been around for almost 60 years as a privately held cooperative. That's right. Its owned by member retailers, like B&C Camera instead of being a single entity incorporated business. And one of the great benefits to being served by a company like this is that the "shareholders" are more than just a bunch of investors who sit back and stare at the bottom line. A business structure like this means its managed and owned by expert business retailers who actually know the markets they serve. Uniting together like this allows them to capitalize on the collective buying power that help influence the market and get us these great prices.

Mossy Oaks Next to Currituck Beach Lighthouse (Corolla)
©2014 Terrell Neasley

So what is it about ProMaster that I like? Well, for starters, focusing on the accessories market has pulled some attention away from the big name manufacturers in the photography industry. Maybe back in the day, a solid argument could be made that a better product could be had from buying original equipment manufacturer items, parts, and accessories. A Canon lens hood was designed exclusively for Canon lenses and a "knock-off" lens hood would "never do" as a replacement. But that meant you also paid a premium for branded equipment.

Well, that was in the past. Today, technology has leveled the playing field in two specific areas. One is in the material. Polycarbonate plastics have come a long way. Polymers and synthetics have advanced to improve engineering designs making them light-weight, durable, and inexpensive. Along with the materials, Computer-aided Design and Manufacturing  allows a company to quickly and efficiently use these new materials to manufacture products and shorten the time from sketch to a finished good. When you can now make a product that's as great a quality as what the big name manufacturer can do, then the only thing extra you pay for is the brand name and goodwill.

Looking out from Currituck Beach Lighthouse (Corolla)
©2014 Terrell Neasley

So that's where the buying power comes in. Presently, ProMaster can command quality and reasonable prices and truly compete with "Big Brands". When I need a cable release to do time-lapse, I can get a Canon for $180. OR, I can pick up the ProMaster Multi-Function RF Timer Remote for $100 and also do it wirelessly. See what I'm saying? Or if I don't need the timer feature, I can just get the Wired Remote Shutter Release Cable for $20 and it works! You can even buy just the cable attachment for it specific for your camera. As a photography instructor, I keep several Nikon, Canon, and Sony cable attachments just because students forget them. You'll pay $70 for the Canon RS-80. Ever lose that thing? What's it feel like to shell out another $70 bucks when you want to do some astrophotography and can't find it?

These guys have thousands of SKU's in their inventory under a plethora of product categories. They sell everything from SD card holders to bags, light stands, full studio lighting kits, filters, tripods, batteries for everything, battery grips, lens accessories, extension tubes...(with contacts to AF), and... tell you what...it'll be easier to just let you name something and play the odds. Chances are, they have it. But guess what! If they don't. Easy-Peasy! Because they are a private collective, they don't have the red-tape and politics of having to go through miles of paperwork and approvals to bring a new product to market. If they want it, they'll buy it or design fabricate it. Too easy.

Then you mix in the fact that ProMaster has no middlemen. Nope. Everything goes straight to the member retailers. Your in-store salespeople become the knowledgeable "reps" that bring you up to speed on your choices based on your individual need. All I'm saying is with ProMaster in the mix, you now have viable options. I don't know. You may not be like me, but for myself, I like options. With no middle men, having to take a piece of the pie, that means lower costs for you. Us. Er'body!

Tracie and I, sole occupants, spending the night on Shackleford Banks, NC
©2014 Terrell Neasley

Now, here is the nitty-gritty, though. They've got this pledge thing they call the "ProMaster Promise", which is a one-year unconditional warranty. And it goes a little something like this:

"Our promise of satisfaction; 

We want you to be 100% satisfied with our ProMaster products. If for any reason, your ProMaster product fails within one year of date of purchase, return the item to your ProMaster dealer and it will be exchanged for you at no charge."

Now tell me. Who does a guarantee like that? Show me someone else who does it and I'll show you a badass in the field of customer service. In most cases that warranty will hold up for 30 days...max, with other companies. These guys just said ONE YEAR...UNCONDITIONAL!! Let me break it down for you. Picture this: Ten months after you buy it, your tripod snaps. Okay, cool. Bring it back and get another one. There's no waiting period to conduct an investigation and maybe you'll get another one in six to eight weeks. Bring it in. They check it out at the store. They take the broke one to the back and come back with another new one in the box and say, "Have a nice day. Now get your butt back out there and shoot." How do I know this...because I own the carbon fiber XC-525c and that actually happened. I like carbon fiber. If you don't want to spring for CF, then go for the aluminum XC525 and pick your color.

And if you're in a member store like B&C Camera, just make sure they log your name and email address onto your receipt at time of purchase. 10 months down the road, you may not have kept up with your receipt. At B&C Camera, you can take it up there anyway and just have them look up your name and email and they can find everything you bought, reprint your receipt, and you're good to go. That promise goes for everything.

Inside Currituck Beach Lighthouse (Corolla)
©2014 Terrell Neasley

I've been most impressed with their tripods, LED and studio light kits, bags, and the HGX filters. I switched from B+W's and made all my UV filters HGX, or as we call them at the store, the Reds, because they come in a red case. I've lost a lens cap and just never bothered with a buying another one because I had the HGX filter on the front of it. If you ever scratch it, they'll replace it. They are THAT good and worth the extra cheese if you are putting it on a nice lens.

I've consulted for different businesses that need a studio set up to do product photography, portrait work, etc. I also do One on One Photography classes and toward the end of my week-long course, several students want an all-in-one lighting set up. Having the studio light kits that already include everything you need in one travel bag has proven essential. They make things easy, quick, and simple for both studio flash and LED lighting that adjusts both in power and color temperature. If you want, you can even RENT some ProMaster Light kits to try them out first.

I can't tell the difference between my Sony batteries and my ProMaster batteries at roughly half the cost. However, I did indeed notice a stark difference when we were out of both Sony AND ProMaster batteries. I went down the street and bought a no-name brand. The difference was strikingly different. I chucked it and waited on my ProMaster.

Cape Hatteras Lighthouse, Outer Banks, NC
©2014 Terrell Neasley

So yeah, I'm a fan. But just like you, I've had questions from time to time, which is why I think I'll start recording videos of head to head tests of different ProMaster brand products. I'll be testing durability, accuracy, and the overall results I get from what ProMaster produces vs. the bigger name brand products. This will be done in "lab" fashion as well as actual results in the field. I plan to get back to my 3-month Southeast Asia plans soon and I think that'll be a good time for some field work...hopefully towards the end of November! I'll let you know what ProMaster gear I take with me.

And that's the series on Customer Service delivering more than they promise in genres of photography while serving the same people, like you and I. I hope you give these different companies your consideration and hopefully patronage. I am certain you will not find your trust misplaced.

Tracie and I, sole occupants, spending the night on Shackleford Banks, NC
©2014 Terrell Neasley

Alternatives for Shooting When it Gets Cold

Art Model Covenant, "Baby its Cold Outside..." ©2015 Terrell Neasley

The temps dropping fast here in Las Vegas. I can only imagine what things are like in New England or the Midwest. Actually, I don't even want to imagine it. I'm having my own difficulties handling these frigid temps where its hovering around the mid-40's at night. (Don't judge me.) But the more important question is this:

What's a photographer to do when she/he is used to shooting outdoors and is partial to late evening and night time shoots?

Good question.

Art Model, Franki Dame Hotel in Las Vegas, ©2016 Terrell Neasley

Well, you're going to have to get smart about it. As well as get out of your comfort zone. You can't stop shooting. Let's get that established as priority one. Photogs don't go into hibernation until the spring. If you try that, you'll start the spring off with some major suckage...and nobody wants to suck that bad. So don't get out of practice.

Instead, when things get cold outside, you bring all your business inside. I know...that likely means studio and you're going to throw out the "natural light" card. Well, if you want to be a shooter, you're going to have to learn ARTIFICIAL LIGHT. Okay, so the first thing you're going to need is artificial light, obviously. Take a look at some flash options. You're either going the speedlight(lite) route or studio (mono) lights. And then you're going to need some space to shoot in, which is the easiest part. You can temporarily move your furniture around to get that needed space.

Art Model, Christina. Working in my studio ©2016 Terrell Neasley

Lighting might be tougher. First it depends on your budget. Well, actually it all depends on your budget. You can buy what you need or rent the lights you need. Fortunately, you can do both at B&C Camera here in Las Vegas on West Sahara. They've got some excellent beginner kits as well as some advanced 2-light kits that'll get you started. Here is the top flash monolight kit I recommend:

The Promaster SM300 Digital Display 2-Light Studio Kit for about $450.

You may need to purchase some additional softboxes, but you can get that later if you want. It comes with flash sync trigger that attaches to your camera's hot shoe, as well as light stands, reflectors, and a carrying bag. I've recommended this kit to several of my clients and gave instructions on their use. They are very simple and easy to use. This is a middle ground beginner kit at 300 watt-seconds which should satisfy the majority of everything you'll need. While it may be easier to go with LED lights, which are constant light sources, but your best options are going to be with flash.

Art Model, Leslie my living room couch ©2016 Terrell Neasley

You can purchase speedlights for your specific camera brand, (Canon/Nikon/etc.), or you can go with some manual flashes, also by Promaster which are way less expensive. You can also rent studio lighting from B&C as well. Check out their rental options for your needs online or visit the store and let one of the associates help you determine your best option for what you are looking for. Anyone up there can help you figure out exactly what will do the job for your budget.

Art Model, Justine. Still cold, Late February ©2013 Terrell Neasley

Another option you have at your disposal is hotel rooms. I've done this plenty of times. Sometimes its actually too hot outside or your model doesn't want to be around nature. I've packed up studio gear and rented a room in several of these hotels in and around Las Vegas. The best option is to shoot during the low occupancy times of the week, like Monday through Wednesday. Thursday begins to pick up in business which is reflected in the room prices. You can literally pay $20 a night on a Tuesday and that same room will go for $120 a night by Saturday. At the very least, use the opportunity to explore options for your own stay-cations or to help with recommendations when your friends/family come to Las Vegas and you don't want them staying with you! Try to use discount sites like Travelocity, Priceline, or Booking.com rather than the actual hotel website.

Art Model Covenant, close crop, wide aperture, shallow DoF ©2016 Terrell Neasley

Shoot in your OWN house or apartment. You'll be surprised what natural settings can do that don't have to look like a 4-star hotel. If need be, use a lenses with really wide apertures. Prime lens with f/1.8 or f/1.4 apertures are excellent for this. They give you the shallow depth of field that blur out clutter in your background. Shoot compositions that are tightly cropped in to your subject or model to further reduce clutter in your background.

Panda, my kitchen with a wide aperture ©2011 Terrell Neasley

Finally, go get yourself a hardy model who can handle a little bit of cold. Pack some warm blankets, a thermos of hot chocolate/coffee/tea, and keep the car running with the heat on close by. I have actually done ALL of this. I've had some great models who braved that cold and sacrificed comfort for the sake of art, including getting in cold water! Yes. This is true. Be smart. Always stay conscious of the risk. Often times, I'll brave that water WITH my model, just so I'm aware of what my model is experiencing so that I don't ask them to be wet too long. Model safety is priority one at all times. Always stay conscious of your model's comfort and health. Outside of that, keep shooting!

Super Trooper Art Model, Covenant February. Pretty damn cold ©2015 Terrell Neasley

Ambient

Art Model, Covenant ©2014 Terrell Neasley Lit by small outdoor lamp and laptop computer. Handheld high ISO

“Wherever there is light, one can photograph.”

~ Alfred Stieglitz

Ambient light or constant light is light that's not turning off. It just stays on. It doesn't have to be daylight from the sun. It can be the light on in your house or the light that comes on to illuminate your licence plate when it gets dark. By definition, ambient light is simply the light in your immediate surroundings whether it be artificial or natural. If you are in a dark room lit by a candle, that flicker on the wicker is your ambient light. And that's the cool stuff that I'll be discussing in this post. The natural light photogs can get a little something out of this. Anyone can take a photo in the daylight when all the settings are done in Full Auto or "P"-mode. Just let the camera do all the work and you're good to go. So in bringing back that passion, try this: work with ambient light in the darker settings and use any available light that you can come up with. I've used light from a cell phone held close to a model's face. I've used the moon on a 8 second exposure. Or better yet, work with a Neutral Density filter (which I'll be talking about in another upcoming blog post in more detail).

Art Model, Covenant ©2014 Terrell Neasley
Lit by small outdoor lamp and laptop computer. Handheld high ISO

But here are a few things you're gonna need in order to get busy with this concept. In the last post, I set you up with flash and triggers for under $200. In this case, I'm gonna stay in that same neighborhood. I'll begin with a good tripod. I've worked with several new and aspiring photogs who make a dubious mistake in my opinion. And when I say, "in my opinion", it's just that. I'm not quoting law and regulations. Its my perspective that when I see someone spend a grand or more on a good camera and then come into the camera shop looking for a $25 tripod, I'm just gonna say no. And usually the cheapest I get them out of the door with is a $170 Promaster system that will take care of their support and stabilization needs. You simply don't trust a thousand dollars on twenty dollar legs. Just don't do it.

Art Model, Covenant ©2014 Terrell Neasley
Lit by moonlight about 8 seconds (which blurred clouds) on Tripod

Now you can definitely go way more than what Promaster has to offer. I use a carbon fiber Promaster tripod system for my quick travel work here around the country. Its strong, but smaller and more compact to travel with. But for my main work, I use a bigger, but medium sized Manfrotto 190CXPRO4 Tripod with Ball Head Q2 carbon fiber unit that is the most beautiful system out there. Aesthetics usually don't count, but I fell in love with this thing and its gorgeous as well as strong. However, before I venture off to Central America again, I'm picking up another Promaster that's tough, but even smaller than the carbon fiber one I have now. Good sturdy legs are key. Next is having a ball head that can support the weight of your camera when its tilted vertical. I like mine to be extra strong in this regard. When a camera is tilted vertically, its actually off of the tripod's center of gravity. I never use the extended neck on these tripods for that very reason, but sometimes the vertical perspective is necessary.

"What makes photography a strange invention is that its primary raw materials are light and time."

~ John Berger

You can definitely pick up a used tripod system somewhere. There are super easy to test out and confirm it's serviceability prior to you trusting it with your camera out in the field. If you can get a good one for cheap, go for it. I like mine new and simply won't go for a used support system. That's just me. Every manufacturer will make tripods of various qualities, sizes, max weights, and different price points. Carbon fiber will usually run you double what an aluminum will cost. I like carbon fiber a lot. Find what suits you best in the budget you choose.

Art Model, Covenant ©2014 Terrell Neasley
Lit by flashlight 2 seconds. Tripod,
but high ISO exposing for stars

The next most important item is going to be a cable release or remote shutter release system that plugs into your camera and allows you to actuate the shutter release without having to touch the camera itself and thus causing camera shake. For my Nikon D800E I have the MC-36A Multifuction Remote Cord, which is basically an intervalometer and a shutter release cable in one. But for my Fujifilm XE-2, I use an old style plunger-type threaded cable release. Promaster makes several for just about every camera system and when I do my one-on-one trainings, I'll generally have my students pick up one for $20 to $30, depending on what cameras system they have.

Next all you need is a still subject and the proficiency to shoot them giving the lighting challenges and the uniqueness or limitations of your camera. If you have a Sony A7s (stay tuned), then you don't really have any camera limitations. If you're working with a camera with ISO deficiencies, then yes, you'll have to work within that. But generally speaking, you'll be on a tripod so ISO 100 will usually be the best bet. I say generally, because if you're doing astro work, then max ISO is where you'll be. In either case doing a portrait in single-sourced low light can be both fun and challenging, but its sure to pay off with some good work.

Art Model, Covenant ©2014 Terrell Neasley Lit by small outdoor lamp and laptop computer. Handheld high ISO

You can easily get started by using the obvious sources of light around you. The lamp on your light stand; the light coming off the TV or computer monitor, an overhead patio light. Get creative with it a bit. Try using the refrigerator light, a match, a headlamp, a night light. You can even play with different LED lights you might find in the toy section or automotive departments. Experiment! That's the main aim here. Experimentation and just play. Use a lowest ISO setting on your camera unless you are NOT using a tripod. In which case you want to use the lowest ISO you can get away with. Target an ISO that will allow for a shutter speed of at least 1/60th of a second, but cheat a little if you can. Go to 1/30th or even 1/15th and boost the Exposure Value Compensation up by a stop or two. Have your model be as still as possible. If you are not using a model and are doing night time/low light landscape, well, look to see if the wind is blowing the trees or tall grass and let that determine what your shutter should be. Just go out there and shoot and see what happens.